We, MUSEUM OF THE JEWELLERY QUARTER
We, the constituencyMUSEUM OF THE JEWELLERY QUARTER‘It’s been a brilliant experience. We’ve got to go behind the scenes at places I’d neverthought I’d go, let alone the service users. It’s been eye opening; fascinating.’‘Service users know now that the places we visited are placesthey can return to on their own.’Graham Taylor, Creative Group Leader, NHS Birmingham Mental Health ServicesWhat happened?Initially, the MJQ team had intended to build on an emerging relationship between themuseum and BID Deaf Cultural Centre to engage participants from the Deaf community.The Deaf Cultural Centre had recently undertaken research into the history of Deafpeople in manufacturing during the 1920s and 1930s and this project would have been adevelopment of this work.However, it became clear that although BID’s clients represented a strong community, itwas not one of geography, as most participants lived outside Ladywood.Community deliveryInstead, the MJQ developed a partnership with clients of the Ladywood Health &Community Centre in Vincent Road.Over a period of 3 months, participants explored the history of the area and learned thebasic metalworking techniques that underpin the jewellery industry. They visited visitmuseums and galleries in the local area, as well as operational factories and workshops togain insight into the industry. 1
Participants visited: The Birmingham Assay Office, Ladywood Museum of the Jewellery Quarter, Ladywood (Birmingham City Council) JW Evans Silver Plate works , Ladywood (English Heritage) Warstones Lane Cemetery, Ladywood (Birmingham City Council) The Pen Museum, LAdywood (volunteer run, independent museum) Black Country Living Museum, Dudley (independent museum) Birmingham Museum & Art GalleryParticipants visited the studio of a working silversmith and, over 6 weeks, were taughthow to produce a piece for themselves under her direction; these pieces were exhibitedalongside the contemporary work.Developing the workforce’s community skillsAlthough the MJQ team did not work with participants from BID, they did want toimprove the services they offer to Deaf and hearing impaired visitors.Therefore, they worked with BID to develop a deaf awareness course paid for by CulturalChampions. The course was opened beyond MJQ staff to community museums, BCCpartners and BMAG and was attended by 25 frontline staff from 6 organisations.Showcasing the Jewellery QuarterUnder a separate strand of the LAA; ‘Raising the Profile of the Jewellery Quarter’, theMuseum commissioned a piece of silver for exhibition.It was intended that participants would have the opportunity to view the process ofmaking this piece from design to manufacture. However, this did not prove to be feasibleand did not take place.Exhibition and celebrationOn 3 March 2011, MJQ hosted a private viewing of the new commission and the spoonsmade by the community participants. This event was attended by local dignitaries, 6members of the Day centre group, their families and staff from Birmingham MuseumsService and Arts Department.About LadywoodLadywood is located to the west of Birmingham and includespart of the city centre. It is the city’s 2nd smallest constituency interms of area (2,046 hectares) and 72% of Ladywood is withinthe 5% most deprived SOAs in the country.Aston and Nechells wards display the most acute deprivationalthough the entire population of Ladywood falls within the 40%most deprived areas. The vast majority of the constituency ischaracterised by 'hard‐pressed' and 'limited means' householdsalthough there are small pockets of 'urban prosperity' in the citycentre. In 2001 2
It was home to the highest proportion of BME groups across the city: 40.5% areAsian, 17.3% are Black and 7% are classified as other. 28.75% were of the Muslimfaith, compared with 14.3% from Birmingham.27.6% of the population were born outside UK or the EU, compared with 13.42%from Birmingham. Over 45% of the population were under the age of 25, the highest proportion ofyoung people in the city. The employment rate in Ladywood was the lowest of the four priorityconstituencies at just 48.2%. The employment rate was lowest for women andethnic minorities at 39.9% and 43.7% respectively. In addition, 43% of Ladywood's working age population had no qualifications,compared with 37.09% from Birmingham[Socio‐economic context based on 2001 Census, and data provided by Identifying the Barriers to CulturalParticipation and the Needs of Residents of Birmingham, a Final Report to the Birmingham CulturalPartnership by Ecotec, 31st March 2010.]About Ladywood Health & Community Centre, Vincent StreetThe Day centre hosts a wide variety of community activity including a day centre forpeople with mental illness and learning disabilities; older people’s groups and thewomen’s support team.It also includes a community library, members of which were also invited to join theproject.Outcome 1: Increased awareness and understanding of the culturalinstitution partnered with the constituency through project activity andassociated outreach and visits% of respondents who HAVE NOT visited MJQ before100%For participants from Ladywood, many of whom were members of a Mental HealthServices Day Centre art group, lacking the confidence to make a visit provided a majorbarrier:‘They would never go to these places without an organised trip and transportprovided.’ Graham Taylor, Creative Group Leader, mental health day services, LadywoodHealth and Community Centre‘I can’t believe they are displaying something made by me, an ordinary person.There are so many important people here.’ Participant from Mental Health ServicesDay Centre art group during the private view of the Cultural Champions exhibition 3
Outcome 2: Increased desire to contribute to or participate in culturalactivity in city centre% of new participants (engaged once only)22%% of return participants (engaged more than once)78%78% of participants in cultural champion activity delivered by MJQ engaged more thanonce. This high proportion of repeat engagements suggests a high level of motivation.The nature of the Cultural Champions activity might also have a bearing on highproportion of repeat engagements. Both practitioners effectively arranged for low‐skilledparticipants to take part in skills development training:The participants in MJQ’s Cultural Champions activity formed a very close relationshipwith the practitioner and project coordinator. 78% of participants engaged more thanonce and 35% attended a minimum of 10 out of 12 sessions.Graham Taylor, Mental Health Day Services Creative Group Leader at Ladywood Healthand Community Centre, said: ‘Service users know now that the places we visited areplaces they can return to on their own. People were surprised by their museum visitsand expressed wishes to return.’Owing to their shyness, the group had a preview of the exhibition on 1 March, before theprivate view on 3 March to which local dignitaries and cultural practitioners had beeninvited.However, Victoria Emmanuel, Curator of MJQ, reported that 5 group members feltconfident enough to attend on 3 March, one of whom brought her 2 children. Since theexhibition has opened, staff at MJQ have reported that other group members havebrought friends to see their spoons.Noticeboard in Ladywood Health & Community Centre showingcultural projects available to constituents 4
Outcome 3: Increased uptake of cultural offer through participation inactivity and visits to partner venueMuseums and galleries attendance by Ladywood residents% adults attended in previous 12 months (2008‐09) 1% of Cultural Champions participants attending (2010‐11)29.75%54%The percentage of participants in the Cultural Champions activity who visited the partnercity centre cultural venue was far higher than the percentage of constituency residentswho said, in the Annual Opinion Survey (2008‐09), that they had visited a museum orgallery during the preceding 12 months.However, it should be noted that the average proportion of the population of eachconstituency participating in Cultural Champions activity was 0.01%.As none of the Cultural Champions organisations consistently collect demographic datafrom visitors who are not participating in a specific project activity, there is noquantitative data to prove an increased uptake of the cultural offer through participationin activity and visits to partner venue outside the project delivery period.It is to be hoped that during the next Opinion Survey and DCMS Taking Part survey, therewill be an increase in the % of adults visiting museums & galleries.Outcome 4: Personal / Community growth:ILIESHA’S JOURNEY‘I won’t come with you to JW Evans. I don’t likemuseums. I went to Soho House and it was all toomuch talking and not enough wandering’.Iliesha was persuaded to visit MJQ despite herexpectation that the ‘staff would talk too much’ and itwould ‘be boring.’After her visit she said that the staff ‘did talk a bit toomuch, but it wasn’t too bad’Iliesha was so pleased at what she had achieved thatshe asked to have a certificate when she finished. Thepractitioner had not expected that the participantswould want one but Iliesha said: ‘I’ve got stacks ofcertificates, I am used to working for certificates’Iliesha attended 8 of the 10 sessions and made a spoonwhich was exhibited in the MJQ. She brought herchildren to the opening event to show them her work.1Constituency participation figures, p.62 Barriers to Cultural Participation, 2010. Source: Annual Opinion Survey,2008 and 2009 5
Increased ability/confidence to carry out self supported cultural activity as a groupor an individualSuch was the participants’ enthusiasm for visiting cultural venues, that VictoriaEmmanuel, Curator of MJQ, arranged for the group to visit the Conservation Departmentof BMAG and view the Staffordshire Hoard. Graham Taylor, creative group leader, foundthe visit to the Staffordshire Hoard particularly interesting from a professionaldevelopment perspective – he plans to use the patterns decorating the pieces in theHoard in his pottery class.Owing to their shyness, the group had a preview of the exhibition on 1 March, before theprivate view on 3 March to which local dignitaries and cultural practitioners had beeninvited. However, Victoria Emmanuel, Curator of MJQ, reported that 5 group membersfelt confident enough to attend on 3 March, one of whom brought her 2 children. Sincethe exhibition has opened, staff at MJQ have reported that other group members havebrought friends to see their spoons.Improved skillsAlthough none of the sessions constituted accredited courses, many participants wereawarded a certificate at its conclusion.‘Certificates were a good thing and added a sense of achievement to what thesepeople had done. It meant so much to them’ Ruth Swallow, MJQ project coordinatorIncreased enjoyment of cultural offer and creative activity‘One non English speaker was particularly happy with the silver spoon she made. Shehad a huge smile on her face as she proudly showed people what she’d made.’ GrahamTaylor, Creative Group Leader‘From my experience, the participants have thoroughly enjoyed making the silverspoons which look absolutely terrific! From what Ruth has said although those whohave attended the trips have really enjoyed them, it’s making the spoons that thatthey have particularly enjoyed and found rewarding.’Victoria Emmanuel, Curator of MJQOutcome 5: Increased understanding of constituency and residents‘We worked with a very specific group of people living in Ladywood and thatobviously ensured a greater understanding of their needs and interests. Had we hadgreater capacity it would have been good to have reached a larger number of people.’Victoria EmmanuelUniquely of the four Cultural Champions, MJQ is actually situated within the constituencywith which it was partnered. Ladywood also contains a portion of the city centre. As aconsequence of new building around St Paul’s Square, an increasing number ofprofessionals are moving into the area.Participants from Ladywood Health and Community Centre, situated on the far side of theExpressway from the city centre, are not as prosperous. Many were clients of the mentalhealth day service delivered at the centre. None had visited MJQ before.Victoria Emmanuel, Curator of MJQ, was keen to use Cultural Champions activity to buildon the constituency relationships built during the earlier Buttons & Bling project run by 6
Anna Dolecka, the museum’s Education Officer: ‘we knew it worked and we wanted togive residents a holistic sense of Jewellery Quarter as a working/cultural area Outcome 6: Creation of sustainable local/ organizational infrastructureto bridge the gap between city centre institution and constituencymembers‘Audience development work has always been central to the Museum's role.All of the Community Museums have a remit for local partnership working and havedone so successfully for many years.Funding for such programmes has always been problem and is likely to becomeworse in the near future.’Victoria EmmanuelAs well as providing 6 practical sessions for constituency participants, silversmith, LouiseChesshire, ran a workshop for MJQ staff. The activity gave staff an insight into some of thepractical skills and processes employed by the jewellery trade to make some of theexhibits in their galleries.Funding from the project enabled staff to purchase basic equipment to provide similarworkshops for community participants and members of the public in future.The museum also registered its own hallmark with the Assay Office, which means that infuture, all precious metal artefacts produced by participants will be properly hallmarked.Working with BID, MJQ hosted a Deaf Awareness course which was attended by 25 staff(mainly FoH) from MJQ, BMAG, Think Tank and Community Libraries.However, where possible, Victoria plans to ‘build on our new relationships with theCentre and with BID and look for future ways of working together’.Outcome 7: Increased enjoyment and creativity in working withconstituency groups‘The staff who undertook the Deaf Awareness training all found this invaluable .building their confidence in dealing with people with hearing impairments.Much of what we learned was commonsense, but we needed reassurancethat this was the case.’Victoria EmmanuelSumming up her observations of involvement in the Cultural Champions project, VictoriaEmmanuel observed:‘I think that Ruth has learned a lot from this project . She has been extremelysensitive to the needs of the group and has gently steered the project to meet theirneeds, despite not having had a vast amount of experience to draw upon. 7
LESSONS LEARNED: We, the constituencyAccording to Victoria Emmanuel, Curator of MJQ , the team deliberately worked in greatdepth with a small and vulnerable group because ‘we wanted to give residents a holisticsense of Jewellery Quarter as a working/cultural area’.At the outset, according to Lana Finnegan, Community and Health Centre Manager, theparticipants ‘would never go to these places without an organised trip and transportprovided.’The project activity combined facilitated tours to other constituency venues, duringwhich participants could safely take a passive role, with silversmithing workshops at theday centre, which was familiar and safe. Participants were taken to see their tutor’sworkshop, and had their spoons assayed and hallmarked with MJQ’s own registeredstamp, all of which lent authenticity to their own creations.At the end of the project, the participants were transformed and highly motivated toexplore the city centre cultural offer still further. Graham Taylor, Creative Group Leader,said ‘it’s been a brilliant experience. We’ve got to go behind the scenes at places I’dnever thought I’d go, let alone the service users. It’s been eye opening; fascinating.’ 8
At the participants’ request, Victoria arranged for them to visit BMAG to see theStaffordshire Hoard, and arranged for them to have privileged access to it while it was inConservation. Concerned that the participants might intimidated by the crowds at aprivate view, the MJQ team arranged a separate preview event for them. However, on thenight of 5 group members came, under their own steam, one with her 2 children, as wellas the group leader, Graham Taylor.‘Service users know now that the places we visited are places they can return to ontheir own. People were surprised by their museum visits and expressed wishes toreturn.’‘I can’t believe they are displaying something made by me, an ordinary person. Thereare so many important people here.’ Ladywood participant, during the private view ofthe Cultural Champions exhibition at MJQSuch an approach is highly labour‐ and cost‐intensive, as Lana Finnegan acknowledged:‘We’d love to [do more work like this] but we’re restricted as we’re part of the Council.Anyone is welcome to come here and put things on as long as it doesn’t cost theCentre anything.’Staff have opened their eyes to the fact that it’s possible to make day trips with peopleaccessing mental health services – not everything has to be done at the Centre.’This view was echoed a comment from Graham Taylor, Creative Group Leader for theMental Health Services Partnership: ‘I work in seven other centres and would be keento export the work to these other settings.’Victoria Emmanuel said that ‘Funding for such programmes has always been problemand is likely to become worse in the near future.’ However, where possible, she plansto ‘build on our new relationships with the Centre and with BID and look for futureways of working together’.Summing up her experience, project coordinator Ruth Swallow, said that she hadoriginally envisioned that her sessions would provide ‘a leisure experience’ but realisedthat ‘the participants saw it as something much more profound’.‘It taught me to put myself in other people’s shoes more and consider others and toask people what they want to move forward’WE, THE CONSTITUENCY Build a strong relationship with the target group through repeatedengagement Mix ‘passive’ engagements with active skills development to encourage theless confident Ensure staff in the partner organisation is aware of the wider benefits offuture working in cultural venues Explore other models of joint working that might not be so cost intensive 9
RESIDENCY FACTS & FIGURESCultural practitionersRuth Swallow, printmaker and project co‐ordinatorLouise Chesshire, silversmithCultural partnerMuseum of the Jewellery QuarterConstituencyErdingtonLength of residency9 monthsCommunity partners Ladywood Health & Community Centre BIDOUTPUTSagainst project targetsInitialtargetsRevisedtargets(Mar 2010)(Aug 2010)Participants & engagementsNo of individual participants4040No of individual contacts‐‐Sessions, exhibitions and publicationsNo of silversmithing workshops66No of sessions in cultural venues66Deaf Awareness training for22museum/library staffExhibition of spoons made by11participantsProportion of participants by location and frequency of engagementACTUALtotalsPerformance / against rev target37178‐3 178672On target 1On target1On target% of sessions in constituency46%% of sessions in city centre venue54%% of new participants (engaged once only)22%% of return participants (engaged more than once)78%% of participants attending constituency‐based sessions46%% of participants attending sessions in city centre venue54% 10
Museum of the Jewellery Quarter, Ladywood (Birmingham City Council) JW Evans Silver Plate works , Ladywood (English Heritage) Warstones Lane Cemet. ery, Ladywood (Birmingham City Council) The Pen
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